Then again maybe there is some underlying unity to aesthetic judgment after all, and there is some way to articulate the similarities of a beautiful house, beautiful proof, and beautiful sunset. It is not uncommon to find aesthetics used as a synonym for the philosophy of art, although it is also not uncommon to find thinkers insisting that we distinguish these two closely related fields.
Indeed, it is not even clear anymore who has the right to define art.
For David Hume delicacy of taste is not merely "the ability to detect all the ingredients in a composition" but also our sensibility "to pains as well as pleasures, which escape the rest of mankind." Thus, the sensory discrimination is linked to capacity to pleasure.
For Immanuel Kant "enjoyment" is the result when pleasure arises from sensation, but judging something to be "beautiful" has a third requirement: sensation must give rise to pleasure by engaging our capacities of reflective contemplation.
Perhaps, some have suggested, if we examined closely we would find that what makes a painting beautiful is quite different from what makes music beautiful, and thus that each art form has its own kind of aesthetics.
Perhaps beauty in the natural world is quite different from artificially created beauty.Victorians in Britain often saw African sculpture as ugly, but just a few decades later, Edwardian audiences saw the same sculptures as being beautiful.Evaluations of beauty may well be linked to desirability, perhaps even to sexual desirability.Aesthetics is closely allied with, or perhaps synonymous with, the philosophy of art.The term aesthetics comes from the Greek Template: Polytonic "aisthetike" and was coined by the philosopher Alexander Gottlieb Baumgarten in 1735 to mean "the science of how things are known via the senses." However, much the same study was called studying the "standards of taste" or "judgments of taste" in English, following the vocabulary set by David Hume prior to the introduction of the term "aesthetics." Template: Wiktionarypar Judgments of aesthetic value clearly rely on our ability to discriminate at a sensory level.Aesthetic judgments may be linked to emotions or, like emotions, partially embodied in our physical reactions.Seeing a sublime view of a landscape may make us stop and softly say "wow" while our heart skips a beat and then races faster and our eyes widen.We can call a person, a house, a saxophone line, a fragrance, and a mathematical proof all "beautiful." Are they all beautiful in the same way?What possible feature could a proof and a fragrance both share in virtue of which they both count as beautiful?Ted Cohen has argued that some aesthetic judgments are aiming at universality and some are not.A third classic problem in understanding the nature of aesthetic judgments is how exactly they are unified across context and art form.